Ted Poley - 'Beyond the Fade'
Ted Poley: Lead Vocals
Alessandro Del Vecchio: Drums, Keyboards, Backing Vocals
Mario Percudani: Guitars
Anna Portalupi: Bass
Issa: duet vocal on "The Perfect Crime"
1.)"Let's Start Something" - This track opens with a NASA countdown. After the person says, "lift off" there was a tom-tom fill that kicked in the musical intro. Over the top of the musical intro there was a minor lead guitar solo. The minor lead guitar solo runs over the top of the entire musical intro section. For the musical verse there as a rhythm arrangement change. The musical verse opens with a keyboard arrangement. In between the fourth and fifth lyric lines a rhythm guitar kicks-in. There was a tom-tom fill connecting the musical first verse with the second musical chorus. The musical chorus consisted of a rhythm guitar change. For the chorus the producer turned Ted's microphone up. There was a minor lead guitar solo connecting the first chorus with the second verse. This minor lead guitar solo was very similar to the one over the top of the intro. After the second chorus there was a breakdown section. This breakdown section consisted of the third chorus. After the third chorus there was a tom-to fill that lead to a Ted Poley lead vocal accent along with a backing harmony. Underneath these vocal arrangements Alessandro plays several tom-tom fills. After the fourth chorus there was a short major lead guitar solo. The coda consisted of a lead guitar solo underneath a couple lead vocal accents.
2.)"Everything We Are" - This intro consisted of both a guitar and keyboard arrangement. For fourth measure of the intro there was several cymbal crashes and then a hi-hat change. Underneath the lyric lines of the musical verse Alessandro switched from a standard hi-hat rhythm to a tom-tom pattern. The bass line along with the bass drum was turned up so loud that it caused a roar within the speakers. This completely ruined this song so bad that you cannot even listen to it!!
3.)"Hands Of Love" -This track opened with a keyboard riff. After he riff the rhythm guitar kicked-in. The drum line opened with a few cymbal crashes then a tom-tom fill then a snare drum fill before going into the main drum line. There was a single separate lead guitar riff before the lead guitar began playing the minor lead guitar solo. There was a tom-tom fill connecting the intro with the musical verse. The musical verse consisted of a keyboard and rhythm guitar arrangement. Ted's lyric lines of the verse was very reminiscent to the stuff he wrote on Danger Danger's freshman CD. There was a snare drum fill connecting the musical verse with the musical chorus. The musical chorus consisted of a rhythm guitar change. The chorus consisted of a huge Danger Danger hook. Underneath the lead vocal lines of the second verse and over the top of the rhythm guitar there was a minor lead guitar solo. After the second chorus there was a lead guitar solo. Underneath the lead vocals of the coda there was a minor lead guitar solo.
4.)"The Perfect Crime" - This track was performed as a duet with Frontiers recording artist Issa. I don't know if this was Ted or Frontiers who came up with the idea of Issa singing this duet however it was one hell of an idea.
5.)"Stars" - This intro consisted of a keyboard arrangement over the top of a high-hat and bass drum pattern. The drum line consisted of two tom-tom fills. Once again the micing on some of the tomes was turned up to loud which gave the drum line a roar. The band used the same rhythm arrangement for the musical verse as the one for the musical intro. Ted's us was rpeated vocal's of the verse had a cross between Jeff Scott Soto and Steve Perry of Journey feel to them. There was a music arrangement change for the musical chorus. After the second chorus there was a short musical bridge that consisted of only keyboards. This musical bridge connected the second and third choruses. The third chorus was repeated twice. Over the top of the coda there was a minor lead guitar solo.
6.)"Higher" - This track opened with a rhythm guitar arrangement over the top of a tom-tom pattern. A snare drum fill lead to a rhythm arrangement change. Over the top of the main intro section there was a minor lead guitar solo. The minor lead guitar solo connected the musical intro with the musical verse. The musical verse consisted of a rhythm arrangement change. There was a rhythm change for the musical chorus. The lyrical hook of the chorus was very reminiscent to the stuff Ted wrote on early Danger Danger songs. After the second verse there was a lead guitar solo. Some of the notes of the solo was either double-tracked to give it a twin lead guitar feel. This was probably they best lead guitar solo on the release. There was a minor lea guutar over te top of the coda.
7.)"Where I Lost You" - This track opens with a rhythm guitar track over the top of a drum line. In the middle of the third measure the band kicks in the musical verse. The was a acoustic guitar rhythm theremusical verse consisted of an arrangement change. The musical verse consisted of an electric guitar arrangement over the top of an acoustic guitar arrangement. I am not sure however, it sounded like some of te lyric lines were double-tracked. There as a tom-tom fill connecting the musical verse with the musical chorus. In between the lyric lines and acoustic guitar arrangement there was little lead kicks scattered throughout the musical verse. There was a rhythm arrangement change for the musical chorus. After te first chorus Alessandro switched from a standard hi-hat arrangement to a snare drum pattern. Over the top of this snare pattern there as a minor lead guitar solo. After the second chorus there was a major lead guitar solo that rn over the top of the coda.
8.)"You Won't See Me Cryin'" -This track opens with rhythm guitar arrangement over the top of a keyboard arrangement. The bass line consisted of a tom-tom pattern. There was a small tom-to fill that lead to a minor lead guitar solo. The lead guitar solo connecting the intro with the musical verse. The musical verse consisted of two different rhythm guitar arrangements. Over the top of the two rhythm guitar arrangements there was a minor lead guitar solo. This ran underneath the lyric lines of the first chorus. There was a minor lead guitar solo connecting the musical verse with the second chorus. Running at just a little over four minutes the song seems awful short.
9.)"We Are Young" - This was an amazing ballad!
10.)"Sirens" - This track opened with a rhythm guitar arrangement over the top of a keyboard arrangement. There was an arrangement change for the musical verse. The musical verse consisted of two different rhythm guitar arrangements. In between the second and third measure of the of the chorus there was a minor lead guitar solo. Ted's vocals of the chorus were amazing. After the second chorus there was a breakdown section. After the breakdown there was a minor led guitar solo. After the solo there was a short Journey influenced breakdown section.
11.)"Beneath The Stars" -This amazing ballad probably should not have ended the CD. It should have been more in the middle of the CD. My only complaint is once again they turned the micing on the tom-toms uo way to much!
In early 1989 not long before the release of their self-titled CD Danger Danger went on a promotional tour of radio stations and music sores. One of the stores on this tour was The Guitar Centre in Evansville Indiana. I am pretty sure the only this was booked was because Andy Timmons was from Evansville. Little did I know twenty-eight years later and some of the members I would consider some of the members dear friends. After the band finished recorded their third CD in 1993 titled, 'Cockroach' the band release Ted Poley from his dueties and hired solo vocalist Pail Laine. Too me the Paul Laine years is when the band hit their musical peak! September 19, 2009 the band welcomed Ted Poley back into the fold'.
Dating back to 1988 Ted Poley has had a lengthy career. Not only with Danger Danger and as a solo artist he has fronted at least seven other bands recording at least ten CD's. 'Beyond The Fade' is Ted's third solo release.
I have to be honest next to the stuff Ted recorded with Danger Danger 'Beyond The Fade' if the first thing I have ever listened to. When I got ready to review 'Beyond The Fade' I ask a friend of mine who happens to be the biggest Ted Poley fan I know if his first two solo CD were any good? His basic response was, "there aren't all that". Therefore, when I started to review 'Beyond The Fade' I really wasn't expecting to much!
Let's get to the downside of the release first. When mixing the songs for "Stars" and "Sirens" Alessandro had his bass drum and tom-tom microphones turned up why to loud. Recording the song this way cause a huge roar within in my speaker system. At first, I thought it was just my sound system however these are the only two songs on the release were the bass drum and or tom-toms sound like this. So I know it is not my speaker system. All I can chalk it up to is bad production. Alessandro made up for the two songs with his lead guitar solos. Some of these solos are the best I have heard in a very long time.
Outside of the production on "Stars" and "Sirens" I as completely surprised by what I heard. For the most part the lyrics and lyric arrangements Ted wrote are very similar in fashion to the songs he wrote for Danger Danger's self-titled release and their second album 'Screw It!'. If you are a Ted Poley fan or pre-Danger Danger Paul Laine years fan then this release is for you and a must have!